The Score Magazine :: October 2012

ISSN 0974 – 9128

Vol 05 Issue 06 - October 2012

thescoremag

@highonscore www.highonscore.com

` 50/-

India's NATIONAL Pan-Genre Music MagazinE

The new rage is

SKA

5

A lost art comes back to vogue

The legacy of

VIKKU

International

POETS OF THE FALL

BAND OF THE MONTH is fresh from the Olympics

WITH

and live happily ever after

Relives his finest moments as he turns septuagenarian

STACCATO

COPE

BAND LINEUP CHANGES

VINAYAKRAM Modi Digital’s

WAYS TO

Make a national tour. Find out why they did it

HITTING IT RIGHT WITH

NEHA BHASIN

Survival instincts trump fortunes and this chick has loads of it.

THE BOTTOM LINE: CHENNAI RECLAIMS ITS TITLE AS THE INDIA’S MUSIC CAPITAL WITH SVANUBHAVA

24 MODI DIGITAL’S Band of the Month

Staccato. The large troupe that played in the Olympics, in a more personal venture!

NEHA BHASIN THE FASHION STAR

8

We at The Score Magazine, want to help music at it’s grass root. We feel unless local music venues have a way to promote themselves, bands are going to have fewer places to perform and that means lesser viability for bands to keep going.

We are looking forward to extend our ScoreNight concepts to other cities, trying to convince venue owners and sponsors to work with us to create sustainable music venues. While we are doing that however, we look forward to hearing from you on how you think the local music scene in your city can improve.

If you believe, you have a way, and if you are looking for support or coverage, link up with us.

We just might be able to help each other out!

How the Viva! Star shot to fame with numerous dynamic singles and a solid appeal for life!

QUIRKS N QUERIES WITH SHEFALI ALVAREZ

the edit Pad

For those of you who have tried their hand at publicizing music or supporting the scene or creating a stager getting sponsorship or perhaps landing yourself a gig, you don’t need to hear from us that it is difficult to keep going. You perhaps are perplexed at the contradictions of this field: huge fests featuring huge crowds while local music venues bogged down by license issues and losses.

AJAY PRABHAKAR

Managing Director

14

partners The Distil Soul singer on her walks through phases of life

inSide

FEST FOCUS SVANUBHAVA 2012

30 Managing Director Ajay Prabhakar Director, Business Development Pragash VM Editor in Chief Nikila Srinivasan Associate Editor Siddharth Venkat Marketing Manager Sneha Ramesh Regional Marketing Manager, BLR Subikka GS Creative Director George Vedamanickam Event Support Siddharth Raghunandan Don’t use logo with box Use logo like thisContent Support Nilankur Dutta, Shresht Poddar Design Support Vaishali Menon, Jeyenth Illustration Rasheed Kappan Photography Praveen S R, Sarvothaman Vishnu, Vaishali Menon, Subhash Chandrashekar, S. Sriirama Santhosh (HIGH LIGHTS - www.highlightspro.com)

An insight to the 3-day cultural movement

IN INDIA POETS OF THE FALL

46 http://www.highonscore.com For Advertisements and Feedback contactus@highonscore.com

+91 9500012975

DISCLAIMER: Reproduction in whole or part of any text, photography or illustrations without written permission from the publisher is prohibited. The publisher assumes no responsibility for unsolicited manuscripts, photographs and illustrations. Views expressed in this publication are not necessarily those of the publication and accordingly no liability is assumed by the publisher thereof. Advertising copy and artworks are the sole responsibility of the advertisers.

“The Score Magazine” is wholly owned and published by Behind the scene of the “Temple of Thought” tour Registered Office: 38/23, Venkatesa Agraharam, Mylapore, Chennai 600 004.

shrEshT PoDDAr

NEHA THE FASHIONISTA

8

The

Score Magazine

www.highonscore.com

•

I’ve been this whacky since I was a kid. I love mismatched colors. If I had my way, I would wear all the possible colors at the same time. Who cares if it’s the biggest fashion faux pas! I love neons!

•

What I wear depends on my mood and I love showing my body off.

•

I like brands - Dolce & Gabbana outfits, Giorgio Armani shoes, Guess, Chanel glasses etc.

•

My weirdest look was during my Viva auditions. I wore really tall Dalmatian shoes, half-colored hair, funky shorts & huge kohl lining on my eyes! In retrospect, maybe that wasn’t so good.

•

The worst thing I’ve been called is a tramp. Excuse me but do they even know what a tramp means? I hate it when people use words so loosely.

•

I wouldn’t be caught wearing denims & a white shirt - that combo is SO CLICHED!

COVER STORY

Neha Bhasin “Fashion and Performance go hand in hand”, says fashion star Neha Bhasin, who, aside from her rigorous life as a singer, firmly believes in the importance of a solid fashion statement.

Always passionate about music and performing arts, the ex-Viva! singer has come a long way from her roots of dance and classical Hindustani.

After hosting Sa Re Ga Ma Pa Hungama and singing for several Bollywood movies, she has collaborated with Malaysian rappers and released a solo album!! With plenty of singles on the way, we find out what makes her tick and how she always manages to stay on top!

The

Oct 2012

Score Magazine

www.highonscore.com

9

the SPeech BuBBle Heart to Heart with Neha Bhasin.

Not for the weak hearted!

It’s never easy, and it’s always the question, how does one repeat success and hence become successful? For most of us, Viva remains in our memory as something that defined our memories of the late 90’s. Of the members, only Anushka and Neha have had a relatively successful solo career. We at Score take cognizance of this, we realize how incredibly hard it is go solo. Lets hear Neha’s take on her various challenges.

I’ve a fan who has been perpetually stalking me for over 10 years now. Every day I receive a message from him on the lines of “God, please ma ke Neha happy, successful & most lov ed” even made a fan website. For . He has 3 years he refused to talk to me since I refused to marry him. Initially it was creepy, but I don’t respond any longer . He claimed the purpose of his birth was to love me.

Thinking Once while I was I was very bold, performing on stage my teachers never liked around 5-6 years ago, the me. The other students didn’t zipper of my body suit just gave understand me. I was pathetic th way while doing a hand movement. at Math. Funnily, after the 10 The worst part was I wasn’t wearing standard, my life changed when I anything inside. Luckily no one topped in Arts. I never gave into noticed anything & immediately norms since I always questioned went backstage whilst still the rules. I was a highly singing. impulsive kid.

Once, a guy called Anuj gave me a card while I was dating someone else and I threw it in his face in complete Bolly wood style.

3 people I follo religiously on w Twitter Chinmayee, RJ Salil Acharya & C linton Cerejo

Anusha Mani gets mistaken for me. People think of us as sisters.

I ine can’t imag g in th y n a g bein nger - my si a t u b e els i ut in Life K acting deb as a one-off w ayi Toh Lag G e getting many it thing desp People call me . rs e ff o r othe ecause l at times b ungratefu a is not to run my criteri es around tre

10

The

Score Magazine

www.highonscore.com

Someday, I would lov e to explore the m usic genres of E lectronica and Blues.

I hate washing the utensils - Incidentally, I love washing clothes - I put various aromatic detergents and I need my clothes to smell great.

My dream lover - Gerard Butler from 300. I would immediately settle down with him.

The soundtrack of my life would include Michael Jackson’s Man In The Mirror & Billy Joel’s She’s Always A Woman.

I think I am a very strange combination of a child & a woman.

neha’S MuSical Journey My long journey started at the age of 9. I realized I wanted to sing and wanted to start off soon. When you really wish for something, the whole universe conspires to make it happen and that is what happened with me. The initial platform was easy to get but to sustain & maintain plus to find my own foothold was difficult. I want to find the artist within me. I will only do what feels right to me.

After my debut, I slowly moved on to doing playback.

channel [v] PoPStarS - yay or nay?

It was a bit of both - 70% good and 30% bad. If it hadn’t been for them, I wouldn’t have got such a huge start.

They fed a lot of incorrect things about us in our minds.

We were told that we will be Pop-stars only if we change everything about ourselves. It created a lot of conflict in our personalities - especially for me in the years to come.

I’ve come to realize that this is absolutely false since you are who you are.

‘tera Mera’ - My neWeSt Single It is undoubtedly the most loving song I’ve ever written.

It is a part of a compilation album called ‘Love Is In The Air’. It wasn’t premeditated and I wrote the lyrics as we got into the song. This track truly makes me feel like an artist. The director of the music video wanted to give it a very classic, forgotten look by shooting it in black & white. My vision was to spread the essence of intimacy without saying much. The Neha Bhasin you see in the video is the real Neha Bhasin.

SingleS are the neW Fad?!

To be honest, albums are too much of an effort & most of the songs get lost. By releasing singles, it is easier to reach out to a greater audience who will remember your songs.

MuSic induStry - art thou loving?

It has been neither kind nor unkind to me and hasn’t opened its arms completely. Moreover, the underbelly of this industry is Bollywood. This is a fad-oriented industry. Today you’re a superstar and people love you tomorrow you might be noone.

viva!

We split because it seemed to be the right thing to do at that time. We, bandmates, weren’t getting along nor was the company doing anything for us. We were pop musicians & not playback singers back then. After the initial kickoff, the medium for pop music vanished. The rest is history. We might not hang out together on a daily basis, but all of us are in touch. A possible reunion? I don’t think so. Atleast, I‘m not interested.

ForthcoMing ProJectS? You will hear me in my next single Gustaq in October.

21 YEARS OF NEHA BHASIN! 1991

Performed ‘Do Re Mi’ for the first time on-stage in the third standard.

2009

2001

A decade later, landed at the auditions of Coke [V] Popstars.

Was nominated for the Filmfare Best Playback Award for her song ‘Kuch Khaas’ from Fashion.

2009

2002

2003

Won Coke [V] Popstars & formed a band Viva!

Launched her second album Viva! Reloaded

2010

2011

Collaborated with notable Malaysian rapper Emcee Jesz on a Tamil single, “Thaniye”.

Released her independent album, Tabaah!

2005

Got into playback singing with the title track of Bullet - Ek Dhamaka.

Won many accolades for her amazing voice in Dhunki for Mere Brother Ki Dulhan.

The

Oct 2012

Score Magazine

www.highonscore.com

11

Mihir siNhA

Standing in the middle of an enthusiastic crowd at any anonymous, memorabilia toting, live entertainment venue in India today, it’s hard not to feel optimistic.

For one, being there signifies you are part of an ever-burgeoning social niche, as India’s middle class expands both in numbers and perspectives. Secondly, though stuck in a tiny pocket of mass action, you are sure there are increasingly more of these high-octane, joy-fueled establishments paying drunken reverence to live artistry, and the music isn’t bad either.

GIGANOMIC$ The business and emotions behind live music in India today

not Much oF a Scene Yet, noted scribe Inder Sidhu rubbished the existence of this ‘Scene’ as a media invention in his much quoted article on the Tehelka website a while back. His argument centered on the exclusivist nature of Indian independent music; how only those born to certain comforts and tastes could partake in this niche celebration with ideological roots in very different circumstances to ours. He contended that this sliver of the total population was not big enough to support an industry that had already been ordained by the media to be the next-big-thing.

He found support within a cynical ilk intent on portraying Indian Independent Music as a baby looking for a place to plug the umbilical cord. A bit of it rang true. Though paternalistic initiatives, like Bollywood’s feature, Rock On!! and Channel V’s Launchpad, tried to inspire a general awakening of sorts, they probably failed to promulgate the kind of socio-cultural reforms to ensures the long term viability of Indian independent art.

12

The

Score Magazine

www.highonscore.com

Illustration: Rasheed Kappan

Why? Without any institutionalized corporate backing, like the kind incubating production of Bollywood movie soundtracks, means most Independent artists are forced into compromises. The romantic notion of printing out CDs, nestled inside artistically done album sleeves is an easy lure for musicians to secede the rights to their creations to the few rickety labels willing to foot the risk of music publishing. The alternative is not much else really, and the hope remains that publishing music will help make the band a more saleable entity to gig promoters.

And thus, the cycle begins and ends on the same club stages, where transient independent stars earn and dissolve their myths, in front of perhaps the same crowd. Perhaps, this is the weakest link of our music set up – we seemed to have created a veritable ceiling in the way of growth of our independent arts.

Save our souls The obvious answer to this is to organize bigger events, an idea which seemed to have taken root in the past few years as dominant liquor conglomerates indulge in their share of underhanded promotion by organizing a slew of big festivals – Kingfisher Summer Storm 2012, Bacardi NH7 Weekender Festival, Tuborg Unseen Underground, to name a few.

Such corporate initiative is a silver lining for sure, but the dark clouds of legislation deficit could never be far behind. Bangalore, the country’s undisputed music capital, has been ravaged by dubious laws that prohibit venues with a dancefloor and eating area from hosting a live act, besides also enforcing school-night curfews on pubs and clubs. The implication for the city’s plethora of entertainment destinations that lately had become the breeding ground for some of the country’s finest independent acts is all too grim.

A little grimmer is the muted public reaction. Similar shenanigans in Bombay, via ACP Vasant Dhoble, met with stiffer opposition, but that was mostly because of his general attacks against all forms of entertainment.

Alien vs Predator This is where talk of cultural alienation becomes relevant, revealing the social chasms that exist between our core ideals and everything that rock music is. It, in fact, makes you question the nomenclature. Can we even call it Indian Rock, when our musicians are replicating sounds bred in a different time and place?

Maybe our rock ‘scene’ is more about reverence than rebellion after all. But that is cheap solace to proprietors and promoters who bought the hype. The lack of cultural context means that independent music is only recycled within a small clique, without ever being able to resonate with the masses. Thus that sustained generation-long search for the elusive ‘Indian’ sound, which people believed Indian Ocean were the quintessence of; but 30 odd years of the same melody wore that thought out.

Singing To The Masses Belated developments weakened that belief but strengthened a new one. When famed British producer, John Leckie, came to India in 2009 to audition and collect sounds for his SoundPad project, he knew precisely the streak of ethnicity that he was looking for. Advaita and Swarathma were two of the four bands he selected, who specialized in infusing their music with delicate oriental ambiences.

Both those bands, along with the other nominees, Indigo Children and Medusa, were the highlight acts at most of 2011’s year-ending jamborees. Swarathma drew in a record crowd when they played their set at the NH7 Weekender Festival last November. All four acts also garnered simultaneous international acclaim, albeit cursory, as they appeared at the Great Escape Music Festival in the UK the same year.

It could happen Such tidings raise the chances of a seemingly impossible eventuality – at least till a decade back - of our indigenous music circuit finally producing acts which would not be required to do the regular college gig circuits and finally play to crowds bigger than 5000 people; a popularity/commercial barrier bands never seem to get past.

To temper the excitement, remind yourself that any paradigm shift will happen very gradually. The MTV-inspired recreation of western suburban angst is over with the democratization of art – people clicking online will find exactly what they want and not remain hostage to dominant trends. So, bands like Advaita and Swarathma are now unbridled by their lack of commercial clout in their quest to reach mass consciousness. More of India’s hinterland could be brought into this Independent music movement.

For the rest, it means an early start on legislative procedures to make sure when the time comes, we don’t hold back our musicians for the want of correct regulations. The Copyright Act was a huge step forward. So is the belated allowing of Foreign Direct Investment in Media & Entertainment, which, in an undersold market like ours, should do a lot more good than bad. It’s time to prepare a new soundtrack for the ages.

The

Oct 2012

Score Magazine

www.highonscore.com

13

Future ProJectS You can hear me next in Karan Johar’s Student Of The Year & Abbas-Mustan’s Race 2.

 3 words to describe me - giggler, friendly & music (not musical! - music is my headspace).  I’m not a camera-friendly person at all - if you put me in front of a camera, you can forego your shoot since I will definitely break into laughter. Recently, this happened with me while shooting for a video with Sidd Coutto.

Eventually, the crew yelled at me to be serious.  I have 9 tattoos all over - including the name of my dog in Mime script who passed away recently, a tiger, a sun, a pentagram (I got it one day when I felt everything was going wrong), a butterfly, the moon etc.  The biggest turnoff in a man for me is onion breath.

Yuck!

&

Quirks Queries with Shefali Alvarez

This carefree, bindaaas chick rose to fame with the lover’s anthem Subah Hone Na (from Desi Boyz). She was also heard in recent times in Cocktail & Agent Vinod. Her father, Joe Alvares, is well known in the Indian music scene.

14

The

Score Magazine

www.highonscore.com

 I suffer from claustrophobia. I find it difficult to be amidst zillion people at one time. When I was a kid, I got trapped in a lift which kept taking me up and down.

I was so scared that I refused to walk out of the lift onto a different floor. I think my fear stems from there. Once at an overcrowded gig, I ran away immediately after my performance. Such incidents cause people to think I am unapproachable and snooty - but it isn’t so.  If I could, I would eat sushi for the rest of my life. The weirdest thing I’ve ever seen is my boyfriend eating these big white, worms which emerge when you chop a tree. He just tossed them in the fire with some salt & pepper - and voila! The creepy dish was ready. The weirdest meat I’ve ever eaten has to be rabbit meat. I wish Korean food was available more in Mumbai.  While growing up, I was often told I look like Rani Mukherji - I don’t like being compared to anyone else (no offence!).  I love to travel - I want to go to Machu Pichu next year.

Goof ups always happen - While travelling to Cuba last year for a music festival, we lost our only set of tablas.

There has been a time when I’ve come back to Mumbai with someone else’s shoes. I love to go on treks without fixing an end destination and take the adventure as it comes. Once while trekking in Himachal, we lost our guide and a random villager kid took us to this tent in the middle of nowhere and we camped there overnight.

The next morning, I had high fever & I had to take a dump in the open and that experience made me feel amazingly free.  I do not watch the movies I have sung for. I don’t know why.  I am extremely short-tempered to the point of throwing & breaking things. Don’t even ask me about my road rage! I’ve hired a chauffeur now. Once when I was very angry and wasn’t paying attention, I ended up banging my car into a tree.  Up until a few years ago, I used to teach performance singing at Garodia International School. I gave it up since I didn’t have the patience to teach.  I love feathers - and my boyfriend, Aly Rashid, who owns a forest lodge, keeps giving me various feathers he finds during walks.

shrEshT PoDDAr

early liFe My earliest musical memory is being in band rehearsals in ’85-’86, surrounded by long-haired men jamming to the loudest of music since my dad, Joe Alvares, is from this industry. Every New Year, they used to perform at 5-star hotels and other venues and I used to go along.

When I was about 9, I started recording for jingles & ads along with my sister. I started training at the age of 12 with an opera teacher in Western Classical music. I’ve been trained in music for 9 years.

My first live event took place at the age of 13 for Wizcraft with my dad and another singer at the launch of Laser Lights in Mumbai.

During my adolescent academic years, I used to get an ‘F’ in singing. I wasn’t allowed to sing in the church choir since I did not follow the orders given to me - if they wanted me to sing a particular piece, I would sing exactly the opposite.

Back then, I never thought I’d make it as a singer.

MuSical inSPiration My musical inspirations include Janis Joplin, Grace Slick, Aretha Franklin, Stevie Wonder - basically, a lot of Black music, R&B, Jazz & Blues - and of course, Sting. In the new bracket of musicians, I love Adele.

In the 7th standard, I made my principal cry. She was this crazy lady who used to keep slapping children in school.

Once, when we were told to wear a ponytail, I wore my hair in two plaits. Since I was the captain of my school, I was standing right in front of the assembly line. She came to slap me and I caught her hand instead. Suddenly, out of nowhere, she started bawling and I was suspended for 2 weeks.

The

Oct 2012

Score Magazine

www.highonscore.com

15

SAM

SWARNABHOOMI ACADEMY OF MUSIC ScholarShiPS at SaM Swarnabhoomi Academy of Music recognizes the need to reward outstanding student applicants with financial incentives to enable them to study at SAM and bring credit to the institution and themselves. To this end, SAM has instated two Scholarship programs for the students, • Entering Student Scholarships • Continuing Student Scholarships

ScholarShiP aPPlication Procedure: All Scholarship applicants must first secure an admission at SAM. Entering students should first apply for Admission by filling out the Admissions Application Form.

In the Application form, they must indicate if they are applying for Merit Scholarships or Need Based Grants. Our admissions Office will process the application and inform the applicant if he/ she is admitted to SAM. Once the applicant’s admission is confirmed, the Scholarships office will e-mail the applicant of all scholarship procedures including demo guidelines, dates of submission of materials and all other relevant details.

For more information on Scholarships, please email scholarships@sam.org.in

16

The

Score Magazine

www.highonscore.com

S

warnabhoomi Academy of Music aims to provide a challenging academic program in music that fosters a collaborative exchange of ideas and thoughts in a culturally rich environment exemplifying the notion of a global community. By blending the best of Indian traditional Guru Kula based classical music pedagogy and contemporary western college education practice, the college seeks to not only provide a unique and rounded music education but also build character and personality in its students and prepare them for careers in music as performers, arrangers, songwriters, composers, producers, teachers and more.

Our philosophy from day one has been to impart value based education through music and focus on giving our students the macro and micro skills essential for building careers in music, not just give you the handyman skills to get a gig. At SAM, you don’t just learn your scales, chords and rhythms. There are web sites that do that quite well without you having to leave the comfort of your chair. We believe that Music is about people, about communities, about shared communication that comes out of a willingness to address the human condition in all its glory and imperfection. At SAM, we stoke the artist and thinker in you while keeping you grounded in the real world of practical wisdom. You are forced to come to terms with both your angels and demons and share that in collective expression with a community of like-minded, diverse group of human beings who are connected by one common passion – Music. We develop a blueprint for you to amalgamate essential character building skills with the core music skills that together make the successful music professional in today’s competitive world. In short we are in the business of educating young minds to pursue excellence in their life. We take this business seriously.

What we do at SAM is to assemble a rotating faculty of some of the brightest and most diverse musical minds from around the world, put them all together and create a challenging and rewarding environment to share their knowledge, culture and life experience with our students and show them as Louis Armstrong sang ‘what a wonderful world and as Donald Fagen sang what a glorious time to be free. We then watch the magic unfold. In the process, our students are shown the path to creativity, originality and progressive thinking. Our exceptionally dedicated staff will go out of their way to make you feel at home during your entire time in SAM. All you need to come and study at SAM is passion. We don’t need demos.

What style of music or what instrument you play doesn’t matter. No matter what your music experience is, the education you get at SAM will transform you and your music and thinking will change forever. I wish to cordially invite you to give yourself a chance to live your dreams!

The

Oct 2012

Score Magazine

www.highonscore.com

17

McNally Smith Joint Programs Student Exchange Program SAM and McNally Smith College of Music, USA (MSCM) signed The “International Experience Agreement”(IEA) in April 2012, which paves the way for semester abroad programs for SAM and McNally students. Under the IEA, a SAM student can take a semester abroad and study at MSCM and an MCSM student can take a semester abroad and study at SAM. To celebrate this landmark arrangement, SAM will also provide a significant scholarship to interested students who would like to do a semester at MSCM to enable SAM exchange students get a semester education at MSCM at a cost much lower than the regular MSCM fees. Under the IEA, SAM students may take up to fifteen (15) credits per semester at MSCM. Of these fifteen credits, two (2) credits may be APP (Private Lessons) courses once they are accepted to MSCM.

Credit Transfer Program SAM and MSCM have partnered to enable our students to pursue a degree program in Music there after their graduation from SAM. Students who graduate from SAM can transfer up to 60 credits of SAM instruction to McNally, roughly the equivalent of 2 years worth of study. This makes it possible for a student to go to SAM for 2 years and do a Diploma program and then go to MSCM for 2 more years and get a degree in Music from MSCM. Top graduating SAM students of SAM recommended is also eligible for generous exclusive scholarships from MSCM. McNally Smith is one of the largest colleges of music in the US with an enrollment of nearly 700 students, top class faculty and facilities. For more information about McNally, visit the college web site at www.mcnallysmith.edu

After the semester abroad, SAM and MSCM students will return to their respective institutions to complete the rest of their academic program.

uPcoMing eventS at SaM 5-Day Intensive Performance Camp in Music is from September 17th – 21st 2012 and is open to all musicians.

Connecting the Dots: A 2day Workshop on Performance, Education, Technology and Entrepreneurship in music from Oct 17th – 19th 2012.

Jordan Rudess and Prasanna will teach and perform signature aspects of their music and will share powerful insights on their careers that have long integrated performance, technology, education and business through interactive sessions with participants.

Upcoming Diploma Program: Our next in take for the Diploma program is for spring Jan 2013 do log into our website to register www.sam.org.in

18

The

Score Magazine

www.highonscore.com

siDDhArTh VENkAT

Indie Reviews «««««

Top Picks: Gonzo, Step Outside

«««««

Our writers check out the latest indie albums to hit shelves & get their critique on!

Grey Shack - Step Outside Grey Shack’s debut, Step Outside, is a typical hard-rocking 8-track record whichaside from the superior music quality- wouldn’t have been out of place in the 60’s.

Influences from AC/DC to Jet are evident and the entire album follows a monotonous but energy-packed flow that can be identified after hearing only one song. Breakdowns and offbeats in songs like Beautiful Man and Monkey Man keep the feel alive with some neat-sounding guitar tones and solid rhythm sections. Dirty City has some very catchy lyrics that fit in quite well with the teenager hard rock BonJovi-esque mentality of upcoming Indian metropolitia. Thematically, a lot has gone underway to produce ideas like a smoking monkey, or a song based around Hunter S Thompson. Gonzo is an older track of Grey Shack’s. The new version is easier on the ears and packs the best wallop as the last bonus track song.

Wolf’s Lair - Wolf’ Lair EP The Wolf’s Lair EP has a sound dynamic that is almost an homage to the roots of Indian metal. The 4-track EP showcases a diversity that wasn’t existent with the early band of Blood and Iron. What really stands out here is the synth-oriented approach to metal, reminiscent of several European metal acts. Songs like New World Disorder and Fragmented Forever have a solid synth backing, with the rest of the instruments taking on “filler” roles. However, the keys do take away from the intricacy of several riffs by merely being too dominant and loud. Even besides, the entire album, strangely enough, hardly has any guitar solos. Mixed by musician Ed DeGenaro, the vocals is what really has the pounding effect of old school metal. The title track Wolf’s Lair is probably the most comprehensive composed and mixed song on the EP.

Top Picks: Wolf’s Lair

20

The

Score Magazine

www.highonscore.com

«««««

Compilation - Stupiditties 666: Satan Lives!

Stupiditties 666: Satan Lives! is the 6th edition of the annual compilation of original Indian unmetal indie music released by Rishu Singh and ennui.BOMB. The album consists of 25 songs and will be released in September 2012. Featuring an assortment of artists such as – Blakc, The Shakey Rays, Punk on Toast, Siddharth Basrur and Sridhar/Thayil – the sixth annual compilation also features some interesting artwork.

Dedicated to his daughter, Rishu Singh has built this compilation with similar concepts to the previous five. The two-disk album has 40 different bands on it and is absolutely free for download online. Kudos to people who propagate good music so openly!

Top Picks: Blakc- Bitten, Siddharth Basrur- Rain, Sridhar/ Thayil- This be the Beat

«««««

The Koniac Net - One Last Monsoon The Koniac Net is the brainchild of singer-songwriter David Abraham and their album One Last Monsoon has some beautiful vibes, right from the first song, (It’s Alright) Farewell, to the last Anesthetic & the Withdrawal. Indie rock has been stretched to a very nice and different side almost sounding like The Libertines or The New Pornographers. A soothing voice backed up by a guitar with a really good tone, the bass and drum rhythm section takes care of itself. Their music has been featured on radio in UK. Bricks is a melancholic song that captures the feel of the whole album- a post-rock-ish sound with heavy melancholia, soulful vocals and tremoloed guitars.

Top Picks: Bricks, This Time Around

«««««

Kozmi Cow - Sad Little Shoebox This hardworking Bangalorean, Gowri Jayakumar, has released a Norah Jones-style that stitches up her opinions and perspectives in a very narrative manner. Bangalored, the opening track is a lovely instrumental evoking individualist memories of the city in its elegance. Her vocal prowess is shown in songs like Butter Fingers, which truly shows us the depths of her jazz prowess and feel. The storytelling nature of her lyrics like in the song Cackle are soothing to the ambient listener, who can follow her imagery back down into a road of their own memories. Tea, the album closer is a mournful piece of parting lovers that effectively wraps up the album into one tight record of acoustic guitars, jazzy vocals and rainy days.

Top Picks: Tea, Cackle, Gin and Lime

The

Oct 2012

Score Magazine

www.highonscore.com

21

presents www.highonscore.com

Indie Watch

We scout talented independant acts you should definitely be on the lookout for.

SULK STATION Sulk Station is an electronic/trip-hop duo from Bangalore formed by Tanvi Rao and Rahul Giri in 2009. Their music is driven by Tanvi Rao’s sultry vocals, wrapped in a haze of atmospherics, minimal beats and homegrown synth sounds. The songs are a mix of contemporary electronic genres(triphop/post-dubstep/ambient) with traces of Indian classical music.

They recently released their debut album Till You Appear which has received praise from all quarters. They are currently on an all-India tour promoting the album.

Electronic/Trip-hop

22

The

Score Magazine

www.highonscore.com

“Arguably one of the country’s few untapped talents, Bangalore’s electronic duo Sulk Station are creating their own brand of moody and hypnotic music set in a heavenly ambience. Tanvi’s vocals layer over Rahuls minimalist glitched out beats to create an innovative template of sounds, an arrangement which allows the two to play out extremely inviting, compelling tunes, and an undeniable ability to spellbind the listener.” (The Big M Magazine)

DARK PROJECT Dark Project is and English band whose music can be classified as an eclectic blend of Alternative and Progressive Rock. Following a two year hiatus, the band made a comeback into the independent circuit with its two latest offerings – Magic and Tale of the Liars in July 2011. Since then the band has performed in premier venues like Hard Rock Café Hyderabad, Hard Rock Café Bangalore, Kyra Theaters Bangalore, Herbs and Spice Bangalore and Legends of Rock Bangalore to name a few. The band also reached the Number #1 on Reverbnation Alternative charts for Bangalore in no time.

Alternative and Progressive Rock

In 2009, the band came out with its second full length album titled Liberty and Entropy.

The album received a great review and was also released on iTunes and Amazon for worldwide audiences. The band has now seen a change in line-up, with a new bassist, and relocation to Kolkata. The Band is working on their third album and has released two singles from the album.

GIRISH AND THE CHRONICLES Girish and the Chronicles was formed in October of 2009 in Gantok, Sikkim. Already gaining some reputation as one of the finest rock singers in the country through Youtube, Girish Pradhan formed this band with a motive to revive Hard Rock, Slow Rock, Blues Rock and Heavy Metal. After a few concerts such as Sikkim Area Convention Narcotics Anonymous III, the band decided to start taking part in some of the major Rock competitions in the country, such as Rock o Phonix- IIT Guwahati.

Classic Rock / Rock and Roll / Hard Rock / Blues / Acoustic / Heavy Metal

After winning several individual awards at various such competitions, the band immediately started getting headlining acts at college festivals and quickly gained a lot of popularity in the press and media, creating a large fanbase. Girish and the Chronicles’ performance at Rabindra Bhawan, on 27th June 2010 was telecast live nationally on the NE Doordarshan channel.

SECTOR 8 Sector 8 is a Hindi Pop Rock band with intricate and catchy music and lyrics. Retaining Hindi as the primary language, versatility is the principle behind their songs. Sector 8 compositions are a perfect blend of many genres that cater to all audiences without bias and without preference. The band strongly believes in creating sound from scratch and moulding the raw melodies to finesse.

Hindi Pop Rock

The

Oct 2012

Score Magazine

www.highonscore.com

23

Band of the Month

Staccato

MODI DIGITAL, Distributors of RME, SPL, Neumann, Reference Laboratories, Tube-Tech, Rosendahl, HHB, Da-Cappo, Merging-Pyramix, Violet Design and dealers of Genelec, Sonodyne & Gefen.

Photography: Brahmmaprasad

Premier Digital Mastering Studios, Mumbai’s premier music Mix & Mastering facility.

Inaugurated & blessed by AR Rahman.

Aishwarya Thilak

Chettinad Vidyashram Beginning to wonder if at least their reverie, trance or hallucination took them 5102.6 miles away from home. But their life, love and lust for music did so. It barnstormed the Chennai based Contemporary Classical band Staccato from their school stage to the prodigious London Olympic Park.

Q: Chettinad Vidyashram to London. How has the journey been?

Vikram: It has been great! We hit the roads with our school culturals, followed by a couple of

shows and college culturals, post which we staged professionally. Initiated by Bala, Sruthi Sagar and Vikram, it has multiplied to what it is now. Being certainly in the least of our expectations, the ‘2 years - 2 international platforms at Rio and London’ fact was a task to digest: a happy task! These opportunities keeps reminding us of the fact that we need to work on new things, be dedicated and learn a lot more.

Q:

wasn’t it? Have you now started Staccato is a sunbeam of varied to check all your scams? talents. A co-incidence or an Vikram:

Oh yes! Kaashif had received a intentional collaboration?

response email stating our selection and I rushed to his place to double check. Not knowing how to react, I forwarded the mail to Vandana and Renuka (PR), only for them to drop it as a scam too. Finally, on receiving yet another email, we came to believe. We lost a week and a half realizing it!

Vikram: It was indeed intentional. Unlike the other bands, we purposefully did not restrict our members, giving us space to jumble up the lineup in order to render different and interesting performances each time.

We coordinate with people having the same wavelength and passion towards music and sometimes, when the situation demands, also involve commercial people.

Q:

Kashif played the Gift of the Magic by sending over “Sounds Bala: of Air” and “Salsa”. What in your opinion made these tracks your best buy?

Vikram: I think it had a universal appeal as it wasn’t region/genre specific.

Q:

Q:

Probably the most startling surprise ever. It was really close to being discarded as a scam.

International performances are not new to you, but the Olympics is a different ball game altogether.

Our performance at Rio De Janerio last year was brilliant as we got to meet around 150 musicians from 40 different countries. To understand varied genres, was a very big learning experience. The Olympics, the whole magnitude of it is different. It is something we never even thought of, and to represent out country was a task taking into consideration our diversification.

Getty Images

26

MODI DIGITAL is India’s foremost video & film consultancy and equipment marketing Company.

Turnkey solutions for film and video studios, Marketing of video equipment, Technical consultancy service for studios, Service and maintenance of equipment, The Score Magazine Supplying equipment to FM Studios www.highonscore.com

Q:

Immaterial of the Olympic tag, sponsorship was Q: a pain. Where did you then spot your sponsor angels?

Vikram: Initially we did get some good offers, but the fact that we were not permitted to endorse any brand on stage or inside the premises of the Olympic Park, incented them to back out. It was in the last minute that the TATA sons generously sponsored our flight tickets.

LYCA mobile and PRIMUX also bankrolled for us.

Q:

You faced a crowd of 250,000. 2 slots of 80 minutes each. What was running through your minds?

Bala:

Just two things: we are representing India and we should not let the country down. After we had performed, people from across the globe came appreciating us. They seemed quite stunned.

Q:

Back from the Olympics. Hangover? Or even boosted to further future albums?

Vikram: Ha-ha! There was not much of a hangover as we

Looking at your history of performances, you do have affiliation towards playing covers of AR Rahman and Illayaraja. I am guessing the London audience experienced the Tamil Nadu flavor?

Q:

Shruthi: Yes, most of our music had been defined by the songs of Raja sir and Rahman sir. As we did not want to make our performance region specific, we gave them a taste of Indian music on the whole.

The band winnowed from among 10000 entries across the Globe

had sponsorship issues to settle. But, yeah, we are working on our first album, in collaboration with a couple of international artists. We aim at producing a truly International album from Chennai.

AR Rahman’s nephew is amongst you. Has he seen you live yet?

Gowtham: He wanted us to perform live before we left for

London. Due to time constraints we couldn’t do it. It would be a dream come true for us to perform for him.

Other than one from China, Staccato was the only other Asian band to perform at the Park

A whooping 2, 50,000 souls danced to their beats at the Park.

Staccato was among the favorites of Danny Boyle, the acclaimed director of Slumdog Millionaire, who also headed the selection committee.

AR Rahman’s nephew Kaashif had in secret sent ‘Sounds of Air’ and ‘Salsa’ to the selection committee.

Premier Digital Mastering Studios, located in the heart of Bollywood at Andheri, Mumbai is dedicated to delivering very high quality services to the Music fraternity. Mixing, Mastering & Overdubs being its mainstay, PDMS is also into music production from scratch, Scoring & Sound designing for films with it’s talented team of The Score Magazine Musicians & Engineers. Equipment, Acoustics & Ambience are a state apart from the rest! www.highonscore.com

27

PATROL We pick acts from around the country that are hot right now & present them to you, loaded with idealistic metaphors. Audiovisual evidence on www.highonscore.com!

NilANkUr DUTTA

M E N W HO PAUSE Rock

RI LAGO : Indian Folk/Classical/ GENRE

GENRE:

W ho ?

Fusion Rock

Much has been said about the and writt Delhi bas en ed rock qu large per artet. And cent of th em has b a clevernes een ab s of clever nam their name. Indeed out the e. Inciden , it is a ve ry tally, also band to go a very go with it. od

Who? Lagori is a Bangalore based band comprised

of the usual ‘eclectic group of musicians’ making ‘eclectic type music.’ While these words in a bands bio are usually directly proportional to the level of their “suckitude”, these guys are actually pretty okay.

By their own admission, their music is usually ‘fresh’ and ‘easy on the ear’, and while it may not be their poetry consists of the much else, it is at least eminently listen-able. And while with the usual yearnings of life ed combin love, ited unrequ y eternall of s longing usual good bass. and liberty, they do not make a bad melody. Also: pretty

Why?

every other

putrescence that When ? When you are tired of all of all the avant garde making the usual kind of mellow musician is into, and just want to listen to a usual band music. Good music to unwind to.

Bangalore

PIP OF THE F OUR TH M GENRE: Alte Punk Rock rnative / Powerpop /

Why? Bec rock musi ause they make go od old-sch c that’s w hy. T hat ou ool However, ght for the best of all you philistines to be enough reas on to give , because anything any band their psyc I’ve heard their musi a hedelic m recently. c, usic is pret shot.

Because dance floo apart from trying they actu to stir the r. Also bec ally make ty much masses in ause thei of Tom Pet sense wit to a revolu r product ty and Nir h ion team tion and/ vana. or the happens to intersec When ? Ju t with thos st general e ly in life. .

OTHER

Who? The awesomely albeit

strangely named, Pip Of The Fourth Mother are a punk/ alt rock ens emble from Shillong. They are famous for currently hav ing disappeared from the face of the planet on a predebut-EP hiatus. Apart from that, they are qui te brilliant.

Wh

y? Because, these guys exemp lify quite commendably they tha t 70’s rock resurgence that’s happening in our countr y right now. Because, on stray occasions the se guys will remind of The Ramones with the qua lity of their sound. Bec ause, if nothing else eve from that general area ry band coming are usually quite genius.

When

? Anytime. Put up a poster in you r room if possible. In 20 possibly be saying, “I like years you could d them BEFORE they became mainstream,” buddies. to all your hipster

Shillong

delhi

AND BOOMAR ANG B

ck ck = Junk Ro + Punk + Ro nk Fu + zz Ja al

quite ornament

ve a Who ? They ha page which their facebook

description on . Really rd Executioner overuses the wo is more it h ap gr ra lf a pa go read it; in ha than d ate lic re comp ish linguistically mo le execution fet ab ob pr t Bu s. and Ulysse quite nice jazz, me so ve ha ey aside, th y. etr po quite bad ct, ything is perfe Why? Becausengev, er rfect bass line, pe mi um dr perfect t opens d these guys until the vocalis od jazz band an te perfect lead; all ficult to find a go o minutes: Crea dif tw lly of ua an us sp is e It th ice in his mouth. ly childish improbably tw us hly rio hig glo e in th d all accomplishe and demolish it lyrics. mental sound, mi-wristcutter a perfect instru volushunary se -re mi se ed ell cut out testosterone fu ing. Seriously, y singing anyth od yb an t ou . ith raoke. W something e percussion or When ? On gKawo rds and enjoy th those annoyin

Don't let the randomness freak you out! These bands are worth checking out. Audio visual evidence on www.highonscore.com

28

The

Score Magazine

www.highonscore.com

MiZoraM

Events Galore For more gig reviews & pictures, hawk www.highonscore.com!

KORN LIVE IN CLARK’S EXOTICA, BANGALORE- PATH OF TOTALITY TOUR Nu-Metal rockers Korn, graced Indian fans with a wizard performance featuring songs from their newest album, The Path of Totality.

LUCKY ALI LIVE AT HARD ROCK CAFÉ, BANGALORE A packed audience of men and women well versed in Bollywood was the conglomerate crowd of Hard Rock Café Bangalore on Thursday to watch Lucky Ali live in concert. Playing most of his smash hits with a new acoustic line-up, the band looked in control on stage.

SCORE NIGHTS

The last month of weekly gigs at Star Rock as part of ScoreNights has seen several bands entertaining inebriated crowds.

The

Oct 2012

Score Magazine

www.highonscore.com

29

ANANYA Ashok

Fest Focus: Svanubhava 2012 The Self Experience

A Grand Debut Svanubhava began with a bang with a marvelous concert by eminent vocalist, Sri Nedenuri Krishnamurthy in the Kalakshetra auditorium. After the concert, Krishnamurthy guru took questions from the audience. Students got a glimpse of what the vidwan’s childhood was like as he spoke of his mother’s influence on him and his music. “She was a very good singer, she would always be singing tarangams and bhajans, and I was very influenced by that”, he explained.

The disciple of the legendary Dr. Sripada Pinakapani did not have the luxury of technology to just pull up any concert of his favorite artist at will. In fact, it was interesting to note that the singer did not have exposure to listening to concerts until he came to Chennai! When asked about how he became a skilled performer, the singer smiles and says, “Practice and a deep understanding of what sounds good.”

Following Krishnamurthy sir’s concert was the Anjika Manipuri Dance troupe’s performance of Ras Leela, the story of Krishna. This specific dance tradition which was developed through religious festivals and daily routines followed by the people of Manipur, specializes in tales of Krishna. Viewed as the highest expression of artistic intelligence, devotion, and excellence of Manipuri, the dance drama evoked beauty, tradition, and sensitivity.

Next on the menu was Dr. Chitra Madavan gave an illuminating lecture demonstration on Hindu Temples as Social, Economic, and Cultural Centers. Through detailed images of various ancient temples of India, Chitra transported the audience’s minds to a different era where temples where more than just a place of quiet prayer. There was a time, she says, when temples were the nucleus of villages and towns. Music and dance were mandatory for worship. They were equally great centers for learning and educational development. Her slide show allowed the audience to view the ancient carvings on the walls of old temples highlighting these aspects.

A pleasantly surprising deviation from the events earlier in the day was a powerful and gripping play called Land of Ashes by

30

The

Score Magazine

www.highonscore.com

Indianostrum Theatre. With the use of nothing more than a black sheet and a few props, the four main actors (also the only actors) lit the stage to give a riveting portrayal of casualties of war. Basing the Sri Lankan war as the crux of the story, the play delved into gripping details of the holocaust, the concept of fear, and the perseverance of the human spirit. Director Koumarine Valavane spoke about his inspiration to write the play, a story he had heard of, about a Jewish actress who used puppetry as an outlet to facing the perils and impending doom of the concentration camp where she was trapped. Koumarine, who firmly believes in the power of capturing a moment, created a whole new world for his audience as he had the audience rapt in attention for the last hour of the event. It was a killer beginning to a magnificent festival, to say the least.

Fresh Impetus On the second day, Pandit Ulhas Kashalkar chose to start his concert with the morning raag, Miyan Ki Todi. He went on to sing a composition of his own in raag Hindol-Bahar, a raag of his own creation. A jod raag, Hindol-Bahar can best be described as a cross breed of Sunadhavinodhini and Kaanada. A stunning composition followed that blew the audience away.

Next, a lecture demonstration by an ensemble of young talented percussionists proved to be informative and interactive for students. Krishna Kishor, mridangist and drummer, began the demonstration by educating the students from mridangam basics to showing the audience how to tune a mridangam.

Kishor showed students the physics behind why one side of the mridangam (known as ‘vanthalai’) produces notes of ‘sa’ and ‘ri’. Mridangist Arjun Ganesh went on to demonstrate how all seven notes can be played on the other side of the mridangam (thoppi). Percussionists Anirudh Athreya and Chandrasekara Sharma explained some aspects of kanjira and ghatam.

Following the lecture demonstration, Sri C.V. Chandrasekhar’s dance enthralled kalakshetra students and other audience members. The multifaceted dancer began with a demonstration of Jatiswarams in dance. “Jatiswarams consist of a specific pattern. The dancer dances to that pattern, we do not have a

The 3-day cultural movement in celebration of Indian art saw hordes of enthusiasts pour in for what would turn out to be not only an entertaining, but an educational event. right to change it” he explained, and demonstrated this with the popular Kalyani Jatiswaram, his own composition in Mukhari, and a jatiswaram in Sankarabharanam.

The highlight was the way he conveyed the experience of Lord Kapaleeshwar through Papanasam Sivan’s immortal composition, Kana Kankodi Vendum. He concluded with the famous Poornachandrika Thillana and it was no surprise that the veteran performer received a standing ovation.

In conclusion to the second day at Svanubhava, the audience had an amazing opportunity to listen and witness a percussion duet by great vidwans, Palghat Sri T.R. Rajamani Iyer and Sri V. Kamalakar Rao. Neophytes and performing musicians watched in captivation as the artists exchanged beautiful and intricate sol patterns. Rajamani’s memories of his father were both heartwarming and encouraging to listen to as he described his father’s pure and undying devotion to the art form. During the question and answer session at the end, a student asked why the mridangam never took off the way western drums has in the west, Rajamani replied simply, “The wonders of Carnatic percussion may have stayed within the confines of our land, but it’s capabilities exceed far beyond any musical genre in existence today”.

Dénouement The end is always bittersweet. Such was the feeling I had towards the end of this magnificent festival. On the third day and last day of Svanubhava, the morning began with a concert

by Smt. Sangeetha Sivakumar. From Khamas Varnam, to Panthuvarali, Kambodhi, and finally Jagadodhaarana in Kapi, students and rasikas gave her their complete attention.

Next was the Prahlada Charitram by Melattur Natya Vidhya Sangham. According to Bhagavata Mela tradition to which the drama was presented, only men act in the drama as both male and female. This art form which has been in existence since

around 11th century is the only surviving link in Tamil Nadu that connects us to Sanskrit theatre today.

Fully rendered in Telugu, Prahlada Charitram is the famous tale of Prince Prahlada who’s ardent devotion for Lord Vishnu enrages his father, Lord Hiranyakashapu who initially tries to ‘beat the Vishnu’ out of him as the king is a devout Shivite. When his efforts grow futile, he resorts to more drastic measures, like attempting to kill his own son. Each cast member was spectacular in his or her portrayals of the characters. The final scene was filled with spirit and vigor as the audience truly felt for a moment Lord Narasimha’s presence in the auditorium, and that they were actually witnessing the end Lord Hiranyakashapu.

Pavakathakali was next on the program as Vayaskara Arya Narayanan Moossatu’s Duryodana Vadham was the chosen piece of the day. Pava Kathakali is not only a great introduction to the wonders of Kathakali dancing, but along with Chinese puppetry, it occupies an important position in International puppetry. With the revival of this art form in 1981, the Sangeet Natak Academy and the Department of Culture excavated old puppets as well as made new ones. Many were trained to become master artists in this field and new plays were composed.

Covering all the major aspects of Mahabharata, the puppeteers paid attention to the smallest of details of artistic expression to give a performance that captivated all the viewers in the auditorium. It made a fantastic edition to this year’s festival.

The last performance of the festival was a concert by none other than Mysore Nagaraj and Manjunath. The duet began with Akhilandeshwari in Dwijanvanthi raga. Impeccable sruti suddham and magnificent flow of creativity dominated throughout the concert and the audience could not get enough of the two violinists. Mridangist, Bangalore Sri Arjun Kumar and Ghatam vidwan, Sri Giridhar Uduppa, gave fiery accompaniment and shined together as a team during the thani avarthanam (percussion solo).

Filled with aural delights and fantastic visuals, Svanubhava gave its audience a slice of India’s rich culture and heritage. An unforgettable experience!

The

Oct 2012

Score Magazine

www.highonscore.com

31

NilANkUr DUTTA

Remember ZZ Top? That band with the big beardy dudes who sang La Grange? Turns out, they are mainly memorable (apart from the gratuitous sexual innuendos) for having the same lineup for the last forty years.

On the other end of the spectrum are Guns N Roses, who have a whole Wikipedia article listing their 22 former members. This is also a good place to ďŹ nd amazing rock and roll trivia questions. For instance, did you know that that dude with the KFC bucket was part of Guns N Roses? or that there was actually a Tracy Guns in Guns N Roses?

32

The

Score Magazine

www.highonscore.com

5 TO COPE WAYS

WITH BAND LINE-UP CHANGES

So say your lead singer has taken a vow of silence, and a drummer lost a hand in a freak accident with a contraceptive and a time machine, what do you do, assuming you’re not Def Leppard?

For your now and future musical dysfunctionality, The Score magazine proudly presents

how to deal with changes in your band lineup!

Illustration: Rasheed Kappan

1

When in doubt, add.

If it worked for GNR, it might as well work for you. When virtuoso guitarist and awesome hat-rocker Slash quit GNR in 1996 he was replaced by two lead guitarists, DJ Ashba and Bumblefoot. How the dynamics of two simultaneous lead guitars work are best fit to the over-inflated ego of Axl’ Rose, but atleast like this, you’ll always have a backup handy.

Having crazy fandom might be of help. When Judas Priest frontman Rob Halford officially left the metal gods singer-less, the British band returne with Ohio native Tim “Ripper” Owens, whose only experience was as the singer of a Judas Priest tribute band, on vocals. Granted that the two ripper albums were poorly received, but hey, atleast we got a Marky mark movie out of it.

3

clone all the Band Members.

have a lot of fans.

Remember Journey? (or have you stopped believin’) When lead singer Steve Perry broke a hip and refused to replace it, the band decided to journey on without him (see what I did there?). So they found Steve Augeri, who not only sounded like Perry, but also looked like him.

Augeri sang for them until 2006. Unfortunately, the ‘nobody’ll-evennotice’ defense didn’t work for the band, and their fan base has been divided into two factions ever since.

In case doppelganger’s are not readily available, I suggest making full body masks of all band members and hiring oompa loompa’s to wear them.

This is one for the legends, of how Van Hen became a different band altogether. When Van Halen started out with lead singer David Lee Roth, they became huge with their eponymous album. Think of Jump, Panama, and Hot for Teacher. But when Roth quit the band, they found auto mechanic Sammy Hagar, and the start of another epic era. Now think “Love Walks In,” Why Can’t This Be Love,” and “When It’s Love” ( see a pattern here?). The descent into mush quite rightly outraged the Van Halen fanbase, and quite rightly alienated most of them. However when they lost the sane people, they found pop lovers and fans of hair metal, who now thronged to Van Halen Concerts in the thousands in their (what I assume would have been) pink Cadillac’s and Vespas.

But, Lee Roth is back with VH again, and all is right with the world.

5

2

Be absolutely awesome.

change your genre.

4

This is the hardest thing to do. When one member quits, find another person who is equally brilliant. There was s little band called Pink Floyd who made some goodish albums like Piper At The Gates Of Dawn and A Saucer Full of Secrets. And then Syd Barrett’s eccentricities become non-operational (which basically means he was shoveling marmalade to his face with a tea-cosy), so they hired David Gilmour as a fifth performing member. Eventually, Gilmour replaced Barrett. And then came some other goodish albums like Ummagumma and Atom Heart Mother and Division Bell. While it is highly unlikely that you’ll ever be good enough to hold a pooper scooper behind Barett or Gilmour, relax, these things might just happen sometimes.

With these guidelines, hopefully, you should be able to transition smoothly in and out of musicians as they leave you to work at a Mobile Kiosk. And besides, after nine years of hiatus, ZZ Top have finally announced a new upcoming album. So, you know, may be sticking to your current band, despite dubious musical skills and questionable beard hygiene, may not be such a bad thing after all.

The

Oct 2012

Score Magazine

www.highonscore.com

33

BLIND DATE WITH SKA Before reggae became global due to the magnificence of a certain Robert Nesta Marley, Jamaica’s contribution to the world of music was ska. But how did ska itself come about?

In the late 1950s, Jamaica was a fairly nice place to be in: with its sunkissed beaches, the knowledge that independence was imminent, a shared sense of anticipation about the future, and most importantly, because of the music in the balmy air.

Ska did not merely spring up as a new style of music. There were several phenomena which led to ska, as it were, being synthesized from the different kinds of music around at the time – some New Orleans and Miami radio stations could be picked up on the Jamaican shores (owing to the American military presence in Jamaica post-WW2, there were these military broadcasts of music from the States). Consequently, Jamaica was exposed to American music, primarily Jazz, Soul and R&B. Musicians like Fats Domino, Professor Longhair, Guitar Slim, Clyde McPhatter, Louis Jordan, etc. were quite popular. Ska was thus birthed, as a sort of precursor to genres like reggae, rocksteady

34

The

Score Magazine

www.highonscore.com

and dancehall music. In many ways, it was a reflection of the American music scene of the times. Early sound systems (trucks carrying DJs and their generator-powered equipment playing music around Jamaican localities) would play all these American R&B and Soul numbers. The early ska artistes would be heavily influenced by the music coming from across the pond and put their own spin on things by fusing traditional Carribbean styles like calypso and mento, and recording their own versions of popular American songs.

Gradually the ska genre itself took on these varying influences and put forth a style and a voice that was uniquely its own. The first major ska-producing studios in Jamaica were Studio One and WIRL (West Indies Records Limited). The artistic vision of Clement ‘Coxone’ Dodd, founder of the very influential Studio One, was a major driving force behind the sounds that subsequently defined

rAUNAUQ sAhU

essential viewing This is Ska: 1964 documentary featuring early ska artistes like the Maytals, Prince Buster, Jimmy Cliff, etc.

1962 was the year Jamaica became independent by leaving the Federation of the West Indies, and songs like Freedom Sound (The Skatalites) and Forward March (Derrick Morgan) became part of the unofficial soundtrack to Jamaica’s newly acquired independence. As mentioned earlier, American music was a major influence – and a lot of the early ska artistes would cover American and British hits, reinterpreting a lot of those songs and sometimes drawing them out into extended instrumental jams, often significantly reinventing them (this was something The Wailers – Bob Marley’s band – would often do). The standard bearers of the ska sound were artistes like The Skatalites, Toots and the Maytals, Jimmy Cliff, Desmond Dekker, The Melodians, The Paragons, Byron Lee and the Dragonaires, etc.

The process of musical evolution was continuous, and things were constantly changing. Eventually, ska developed into rocksteady, which quickly gave way to reggae.

an entire generation of new musicians from Jamaica.

And the music, well, it’s all about the groove. Ska is designed to make you move. It has a distinct, walking bassline with rhythms accentuated on the upbeat.

Several legends swirl around how the ‘ska beat’ was created and how the word ska came about in the first place. Prince Buster is sometimes credited as being the creator of the ska sound – where the typical 4/4 rhythmand-blues beat was turned around and the guitar would come in on the off beats. The word ‘ska’ is said to have been derived from the way the guitar sounded. Derrick Morgan, one of the progenitors of the genre claims that the word ska comes from the way the guitars and piano sound in these songs – they go ‘ska, ska’, according to him. There, that settles it. Also, traditional ska bands also feature keyboards and a horn section.

The 2 Tone Story (aka 2 Tone Britain): Documentary on the 2 Tone Label and the events leading up to it. Featuring interviews and music by the bands who were signed to the label.

Everyday Sunshine: The Story of Fishbone : Documentary on the highly influential ska/punk legends.

This wasn’t all though. Chris Blackwell (former Bob Marley producer) used to drive around London in the early 60s, selling the early ska records. A decade or so later, ska was brought to Britain by immigrants from the West Indies. It was tossed around in a cauldron with punk rock, which had emerged in Britain. This was a renewal of sorts for ska, and it acquired a more in-your-face and aggressive personality, with faster tempos, socially conscious songwriting, and an all-round grittier feel to the experience. Also referred to as two-tone (the 2 Tone record label was instrumental in promoting the genre), the bands performing this music often had multi-racial lineups and promoted racial unity. Bands like The Specials, The Beat, Bad Manners, The Selecter, etc. represent this phase.

Then, in the 80s, ska went to America – Orange County and New York City became the epicentres for the third wave of ska, where ska and ska punk became fairly popular, with bands like Fishbone, The Uptones, The Toasters, Hepcat, The Mighty Mighty Bosstones, Voodoo Glow Skulls, etc . and Moon Ska Records (founded by Robert Hingley, the frontman of The Toasters) became the biggest independent ska label. There were also bands like Sublime and The Aquabats, who used to be a ska band, but gradually moved away from the genre, becoming more a synthbased rock/pop outfit. Global popularity of ska, it is reasonably safe to say, has waned over the past couple of decades.

However, you know what they say about the fickleness of public consciousness.

The

Oct 2012

Score Magazine

www.highonscore.com

35

Muzik lounge school of audio technology (MLSAT) situated at the entertainment hub of south India, Chennai, started its journey on September 16th 2010. MLSAT, believes in learning through practical experience. With a focus on a practical oriented course structure, MLSAT, have taken care to provide extensive courses suitable to every individual’s talent and passion. With their range of uniquely crafted long & short term courses, stepping into the music and audio industry shall be a cakewalk During the course of their studies, students get chances to work for film projects at their main studio as assistant engineers & programmers. Next batch will start by Jan 2013 and admissions are open. Interested candidates can download the application form from their website www.muzikloungeindia.com

/MLSAT 36

The

Score Magazine

www.highonscore.com

/muziklounge

Testimonials Poly BaBy (23)

From the DESK

Diploma in Audio Engineering Specialisation: Live Sound

For me, joining ML was a revelation in life. The amount of multi-diversity and exposure was a brilliant experience, and the faculty tried to give everyone a one-on-one focus. The nature of their tutoring made me fit and trained for the industry by the time I passed out. a prestigious Live Sound firm with which I got opportunities to work at shows Sound.com, at Now I work for Harris Jayaraj and A.R.Rahman’s German film orchestra. Even on the job, ML still helps me with any problems I might have. I initially started as an intern and have worked my way up to Assistant Engineer for which I am very thankful to ML.

KaniKa Madan(24)

Diploma in Audio Engineering

“

Specialisation: Sound Design

ML has done a great job right from teaching me the basics, to making me feel like a strong and confident woman. It was a new direction completely for me, especially after my arts undergraduate degree. Coming down from Indore to Chennai was also a welcome change as the teachers and faculty were extremely helpful. The infrastructure and the security are very good, and I never once felt out of place while at school.

I specialized in Sound Design, and got to use state of the art equipments, analog & digital mixing consoles and control surface. Also, as compared to other Audio

engineering colleges, I felt that ML has comprehensively trained me for the outside world. I now work with Sound Designer Stephen Gomes, with whom I was offered my 1st internship because of ML. My first project that I worked under him was Ajith starring Billa 2

fast-expanding Music is a thriving, proliferation of T V business. With the , emergence of new and Radio stations gy convergence, media and technolo are expanding the music horizons perimeters. This beyond traditional of technological is an exciting time ge. You can be change and challen industry when part of this booming tial and passion you show the poten We believe in for music & sound. actical experience learning through pr , it’s a practical and thus at MLSAT ucture. oriented course str

- Ranjith Menon,

Lounge General Manager, Muzik

erS

th o r B o W t F o e l a t a

e they could a platform wher Since then ild bu to m ea dr rn in 2007. usic had a ssionate about m e Muzik Lounge Studio was bo brilliance in the form pa , rs he ot br o th Tw than excellence. Thus have been offering nothing less mething for the aspiring create musical to do so Devassy ed m nt Sa d wa s ic. Thus an y ay ss alw va m hen & Sa Stephen De of Audio and Mus production. Step them in the field Chennai with the latest of music & audio to provide quality education for at logy was setup youth and wanted Lounge school of Audio Techno national standard education. ik ter uz in M e , id 10 ov 20 p n to pr in Se e Padma t and with a visio and composers liku Malik, technical suppor wned musicians An no , -re as iv rld in wo Sr r U fo kram, Mandolin e Louis, dy produced work They have alrea Amjad Ali Khan, Vikku Vinaya yachandran, Vidyasagar, Lesli d .Ja ta M , Us an n ar ha , Harih Vibhus , etc. it Barot , Pritam an, Isaac Thomas Kottukapally Sivamani, Ranj pach se Ou i, an jam Ra Selva Ganesh,

our Brand aMBaSSadorS Percussion Maestro Sivamani

Padmashree Hariharan

Oct 2012

Music Director M.Jayachandran

The

Score Magazine

www.highonscore.com

37

ANANyA Ashok

“

One of the greatest blessings in my life was to have my dad as my guru”

70 YEARS OF VIKKU

A GHATAM

1942

Sri Thetakudi Harihara Vinayakaram is born.

Maestro’s Tale VIKKU VINAYAKARAM 38

The

Score Magazine

www.highonscore.com

March 5, 1955 Gave his very first performance when he was just 13 at the Sri Rama Navami festival - Thoothukudi.

1991 Grammy Award Winning Album, Planet Drum was Released. Vikkuji contributed by playing Ghatam and Morsing.

Two thanis and three hours later, Shri Vikku Vinayakaram was still waiting for a chance to serve a purpose on the stage at Shri Parthasarathy Sabha. It was 1958, and his first accompaniment of a male Carnatic Vocalist ever.

This is a story of a Maestro and his Ghatam.

“It was no average feat to even sit on the stage with the great Shri Ariyakudi Ramanuja Iyengar”, Vikkuji tells me at his home in Triplicane. It was the perseverance of his father, Vikkuji was presented with a golden opportunity. As he sat with his Ghatam, Vikkuji waited in suspense for the opportune moment to play.

Back in the day when people had more time and patience, concerts lasted four hours or more, and rasikas were only too happy to listen to their favorite musicians for hours on end. Mridangists were typically given a minimum of three thani avarthanams in the span of one concert. On this particular occasion, Shri Palghat Mani Iyer, one of the greatest mridangists of all time, was the accompaniment to Ramanuja Iyengar, while Shri T.N. Krishnan was accompanying on violin. The role of a second percussionist on stage is to accompany all three artists on stage while making sure not to overtake the mridangist. The first thani came in Rupaka Thalam, and Shri Palghat Mani Iyer took complete control and didn’t give Shri Vinayakaram so muåch as a passing glance. The second thani came after a kriti in Adi Thalam; same outcome. The third thani came. It was for a Ragam Thanam Pallavi (4 kalai), and there was no way Shri Palghat Mani Iyer was going to give him a chance there, or so Vikkuji thought. He recalls of Shri Mani Iyer, “Palghat Mani Iyer sir’s eyes had a certain power. With one glance, he would grab anyone’s a attention.” Shri Mani Iyer gave such a glance at Shri Vinayakaram. What proceeded was sheer magic, as the two engaged in an explosive thani avarthanam. “Till that point, the Ghatam hadn’t been heard”, Vikkuji explained. “After 4 hours and this thani avarthanam, there was this roaring applause.

It was like a sound of thunder”. Vikkuji, who until that point played for female musicians alone, had now become one of the most sought after accompanists for male singers. Because of Vinayakaram sir, the Ghatam, a previously underrated percussion instrument, was now in popular demand.

Moreover, Shri Vikku Vinayakaram was in serious demand.

a Father’S devotion When asked about his family, the Ghatam maestro says, “One of the greatest blessings in my

1958 Vikkuji began accompanying male Carnatic Musicians, starting with Sri Ariyakudi Ramanuja Iyengar.

1996 Vikkuji is awarded Padmasri by the Government of India.

1966 Vikkuji accompanied MS Subbalakshmi in the historic UN Concert.

2000 Vikkuji was conferred the Hafiz Ali Khan Award for “unmatched contribution in the field of music”.

life was to have my dad as my guru.” A student of Shri Tanjavur Vaidhyanatha Iyer (guru of Sangeetha Kalanidhi Shri Palghat Mani Iyer), his father, Shri Harihara Sharma would take the train to Thanjavur and learn from Shri Vaidhyanatha Iyer.

Shri Harihara Sharma soon became a skilled mridangist and was quickly gaining repute until an unfortunate tram accident rendered his ring finger useless. Unable to play the mridangam, Sharmaji took up morsing, as it did not require the use of all fingers to play. All India Radio at the time decided to ban Morsing along with Harmonium and that cost him his position at the station. Sharmaji, at this point, decided to come to Chennai. He took up ‘Gath’, an instrument of the mridangam family which is played using a stick. To support his family, Sharmaji played this instrument for films and managed to make a living.

Shri Harihara Sharma, however didn’t stop there. Keeping his experience and struggles in mind, he wanted to create a way for those who didn’t have the ‘vaadhyam’ (ability to play), to still have the capacity to impart the knowledge to students. He founded seven 7 sols, like solfa syllable equivalents, for percussionists. He formed a syllabus that had a methodical way of approaching the art of percussion with clarity to understand what is being played.

On the day the Sangeetha Kalanidhi title was conferred to Shri Palghat Mani Iyer, at his behest, the syllabus was presented in the morning session at the Madras Music Academy, which he had earlier reviewed and clarified his doubts. Shri Karaikudi Mani Iyer took part in the demonstration. With that book, he started a school where Vikkuji’s uncle’s son, K.M. Vaidhyanathan, became the first student to wet the syllabus and was trained as a mridangist.

dreaMS oF hiS Father In the beginning, Vikkuji took up the Mridangam. “Above all other percussion instruments, Mridangam requires the most presence of mind”, he admitted. Shri Harihara Sharma initially felt that if Vikkuji learned from him, he wouldn’t pursue it seriously. Shri Pazhani Subramanya Iyer was someone that Sharmaji had in mind for his son. However, Pazhani sir’s nature didn’t make a good impression on Vikkuji’s father. “When my father went to

1977 Vikkuji joins Shakti.

2007 Vikkuji’s Album, “The Language and Technique of South Indian Percussion” is released.

1988 Received Sangeet Natak Academy Award for Ghatam

2012 Mysterium Tremedum, an album by Mickey Hart Ensemble was released.

The

Oct 2012

Score Magazine

www.highonscore.com

39

the ghataM accoMPan ieS

Through more and more exper playing fo ience r female a rtists, Vik his accom kuji refined paniment open to ha skills. His ving his so fa th er, althou he should n accompa gh ny female the art form start accompanying artists, stil m (c a l felt le o m a plexity in rtists to tr found in m musical ca uly progre ale musici ss in lculations ans, provin Unfortuna was predo g to be a g tely, at the concerts. minantly reater cha time, Gha Shri Vina llenge for tam accom yakaram ex set their p accompan paniment akkavadh plains tha ists). was unhea yam (acco t th is rd of in m w as primari mpanimen ale ly ts d u ) e a nd usually to the fact Ghatam in that artists didn’t hav their conce Based on e a habit o rt package f involvin towards ch all the instances th deal. g the at he reco anging peo unts, one ple’s perce people to u can say th ption of th nderstand at Vikkuji e Vinayaka and appre has ram recall ciate the m Ghatam. Time and s is an Ala time again continually worked who was a a g n ifi ce nce of the thur Broth , he has op ccompany Ghatam. O er’s kutch ened the ey in accompan ne of man eri in Thir es of y all the co g on mridangam, w y instance u v a ncerts he ayar. Shri s an accomp so im s that Shri p re played for. ssed by Sh Pazhani S anist for m Through su ri ubraman ale Shri Vina ya Pillai, ch instance Vinayakaram’s pla yakaram fo singers. However, w ying, he w s, he had b Nations, S h r en a y S ea h anted him r’s worth ri Sadasiv eg hri Vinay u n to es to of his wife’ tablish him am, Smt. M akaram’s Shri Vina s concerts, opport self firmly .S. Subba yakaram fr including lakshmi’ as om reachin unities with male a h s er h usband, fi mom ccompanim g to greate xed r heights. ent came to entous concert at th There was e United a halt. Yet Vikku Vin more in st , this hard ayakaram ore for him ly prevente headed fo as the Gha d r the West. tam and S hri The Ghata m, Vikkuji explains, like Thav has the ab il and Mri ility to jell dangam, th was when with any in e Ghatam Ghatam w stru goes toget en t o u ts ide India, her with ev ment. Unlike most Music scen that it tru percussio e, but in th erything. ly gained n instrum According e Carnatic a huge am In the earl ents, to Vinaya scene as w o y 70’s Sir J u n k t aram sir, el o l. f p O o n p e u o larity, not particular hn Mc La it Zakhir H just in the ug event allo u wed for th World Raghavan ssein and Shri L. S hlin, founder of th is to happ e ba han on en. sound. Sh board, felt mridang kar. John McLaug nd Shakti, had bee n an h am and ta bla sound lin, who also had m collaborating with the vidwa kar then suggested ed too Ustad rida n an Shri family. Sh d offered to take ca Vinayakaram. McL similar and was in ngist Shri Ramnad re of every ri Vinaya se a u a g rc h h li n fo immediate karam’s fa r a unique thing from opportunit ther fe ly got his a y. M ‘foreign’ o oreover, it was a g lt that Ghatam will irfare to his salary in touch with rea to pp ga sweeter to ortunity did not just t honor for Shri Vin in popularity if he support his took up th him when ayakaram happen to e M b a as the main eca ny cL act. “He ju aughlin expressed h musician. The dea use in truth, a l st said, cr b is ec recalls. M in a terest in h me even eate a pie cLaug avin performed hlin, Ustad Zakir H ce and play!”, Shri g the Ghatam ussein, an Vinayaka the piece to ram dS guitar and g violin and ether. It jelled incred hri Vinayakaram the Ghata ib ly well with m was a in the fusi on circuit n instant success .

“ghataM iS

40

The

Score Magazine

www.highonscore.com

deiva Bhag

yaM”

his house, Pazhani sir threw a stone at one of his students.

That was when he realized that type of teaching wouldn’t suit me and he would have to teach me himself”, Vikkuji remembers. Shri Harihara Sharma stopped his son’s schooling and devoted himself to teaching and training him. Without wasting a moment, Sharmaji kept him on a strict music routine. Similar to how it would have been had he attended school, Vinayakaram sir followed a gurukulavasam (when a student lives with the guru during their initial stages of learning) under his dad.

Contrary to the fears Sharmaji had about teaching his own son, Shri Vinayakaram never spoke back to his father.

Despite Sharmaji’s soft nature, his son never once took advantage of his goodness. Sharmaji would wake him up at 4 am everyday to practice. While today we have the luxury of drinking hot coffee in the morning, Shri Vinayakaram would drink rice water with salt, after which his father would have him practice until the lamp in his room faded out. What did he practice, you may wonder? The same korvai, the only korvai he was taught, over and over again.

For a short break, he would eat rice from the day before and continue play till noon. While his father was sleeping, Vinayakaram sir would take the opportunity go out and play. Then around 3 in the afternoon, his dad would sit with him and teach him kanakku (mathematical calculations for music). With the rigor that Shri Vinayakaram was subjected to, there is only gratitude that the maestro feels for his father. “He sat with me and taught me all the things I didn’t understand, and he would find a way to make me understand all concepts. He was not just my father, he was my guru”, Shri Vinayakaram says fondly.

Being liMitleSS In 1991, Shri. Vinayakaram met famous percussionist and musicologist, Micky Hart. Hart had a dream. He had a dream to gather all the great percussionists in the world and cut an album. When the album “Planet Drum” launched into production, Hart had percussionists from all parts of the world to contribute to the album.

Shri Vinayakaram, who had been referred to Hart by none other than Ustad Zakhir Hussein was chosen as a representative of South Indian Classical percussion. The group met in San Francisco for their first ‘jam session’ and initially Vikkuji was skeptical of the outcome. Unlike his experience in Shakti, there was no rehearsal for the album and there was no set ‘piece’ to perform. It was the first time Shri Vinayakaram would improvise in Fusion.

In total, Hart recorded 13 magnificent, spellbinding tracks. The album became an instant hit and was the top selling World Music album around the world.

Naturally, a Grammy Award followed.

viKKuS collaBorationS 1. Mickey Hart’s “Planet Drum” and “Mysterious Tremendum” 2. John McLaughlin’s Shakti 3. L. Shankar’s “Raga Aberi” 4. He’s played for Chembai Vaidyanatha Bhagavatar, Mangalampalli Balamuralikrishna, G. N. Balasubramaniam, Madurai Mani Iyer, Semmangudi Srinivasa Iyer, M. S. Subbulakshmi and Maharajapuram Santhanam.

5. Performed at Basant Utsav for the annual fundraiser for the Banyon.

6. His album, “Thala Vadhya Kucheri” consists of a plethora of instruments including violin, konnakol, mridangam, khanjira, ghatam, morsingh, and dholak. The album is conducted by Vinayakram and assisted by T.H. Subash Chandran.

7. “Swara Laya Mela,”, another album presented by Vinayakram and coordinated by Subash Chandran, is a rendering by the Sri Sri Maha Periyava Group.

8. ”Together”, an album that features Vinayakram sir along with both of his sons, as well as “Moon Over the Isles”, consists of various percussionists from Vinayakram sir’s school.

9. “Generations”, an album with Vinayakram sir, Sri Subash Chandran, Sri Selvaganesh, and Sri Umashankar contains stellar beats including one piece involving three ghatams set at different pitches, played by Vinayakram, Subash Chandran, and Umashankar.

The

Oct 2012

Score Magazine

www.highonscore.com

41

Melody Maker Special Great value in a legendary rock and roll machine

Product available at all Furtados Stores

SPEC

y body Genuine Mahogan uer cq la o with satin nitr finsh ck with • Mahogany ne ded neck comfortable, roun profile fingerboard • Baked Maple lays with acrylic dot in ful Gibson P-90 • Pair of power pickups white-button • Vintage-style 14:1 tuners tuners with tuning ratio

•

42

The

Score Magazine

www.highonscore.com

Gibson introduced its beloved Melody Maker “student” lineup in 1959, and it has been a favorite of players seeking great tone at a great value ever since. In the spirit of the countless Melody Makers that have been modded, hotrodded and upgraded over the years by players aiming to emulate the performance of more up-market guitars, Gibson USA introduces the Melody Maker Special. This great guitar offers all the no-nonsense, slab-bodied styling of the original Melody Maker, but is updated with the legendary P-90 pickups as found on the Les Paul Special, as well as a full-sized Les Paul-style headstock. With these features, and a choice of four gorgeous nitrocellulose satin finishes—Cherry, Yellow, Ebony, and Blue Stain—the Melody Maker Special gives you outstanding value in a genuine, USA-made Gibson electric guitar.

Just like the first Melody Makers to roll off the line in Kalamazoo 62 years ago, the Melody Maker Special is made from solid mahogany. An archetypal tonewood used in countless classic Gibson electric guitars, mahogany has a sonic depth and richness that can’t be beat, yet always remains clear and articulate. The guitar’s neck is made from quarter-sawn mahogany, carved to a comfortably rounded profile that measures .835” at the 1st fret and .930” at the 12th. Its 22-fret fingerboard is made from baked maple, a heat-treated hardwood that provides outstanding durability along with excellent tonal clarity, and is topped by a PLEK-cut Corian nut for superb sustain and excellent intonation.

The tonal heart of the Melody Maker Special lies in its pair of P-90 pickups, beloved single-coil units that have been favored by rock ‘n’ rollers, blues players and garage rockers for more than 60 years. Made with genuine Alnico V magnets, these pickups provide as much power as traditional PAF-style humbuckers, but with a characteristic bite and midrange punch that really help them cut through the mix. They are wired through the no-nonsense control section of single master volume and tone control, with three-way toggle switch. Hardware includes a rock-solid wraparound bridge—a component known for its ability to enhance any guitar’s resonance and sustain—and a set of quality, vintage-style white-button tuners.

the Melody MaKer uncut You’re in for a treat

BODY SPecieS

Mahogany

adheSive

Franklin Titebond 50

NECK

Joint

SPecieS

Mahogany Rounded

truSS rod

Traditional Adjustable

Joint angle SPecieS

Baked Maple

FretS 22 radiuS 12” Scale length 24.75” nut/e.o.B 1.695”/2.260”

inlayS ACRYLIC DOT

Mortise & Tenon

adheSive

ProFile

FINGERBOARD

NECK FIT TUNERS Model

Vintge White Button

Plating Chrome tuning ratio 14:1

Franklin Titebond 50

5° (+/- 15 SECONDS) Traditional Adjustable

HEADSTOCK logo

Gold “Gibson” Logo

truSS rod cover

Black Antique Bell

PotentioMeterS 1 Volume Control, 1 Tone Control

tyPe 300k Linear Volume,

500k Non-linear Tone

coil Wiring Machine Wound toggle SWitch Three-way

Switchcraft with White Black Tip

Joint angle tolerance +/- .005”

ELECTRONICS

NUT HARDWARE KnoBS Black Top Hat Material

Corian

Width

1.695

SlotS Gibson PLEK System

PicKguard

Black with P-90 Slots

StringS .010 - .046, Genuine Gibson strings StraP ButtonS Aluminum

PICKUPS

BRIDGE/ TAILPIECE tyPe Wrap-Around Material Zamak Plating Chrome

necK PoSition P-90 (Alnico V) Bridge PoSition P-90 (Alnico V) The

Oct 2012

Score Magazine

www.highonscore.com

43

soorAJ JoshUA

“

You are actually making music with that fretless – Joe Satriani.

Holiday in

RAS MAD The totality of Indian collaboration The new 12-track record sees collaborations with several Indian artists, such as renowned ghatam player Dr. S.Karthick, who sent him back to the basics of time signatures. His wife, Ujjayinee, who does vocals on the album turned out to be a perfect collaboration. Ed, when asked what he thought, gave us his insight “Holiday In Madras was the natural outgrowth of the two prior ones, Dog House and subsequent shows and live albums had me use table and konnakol, on Less Is Seldom More I started having lots of World Music influences especially in the form of vocal bits interspersed here and there. When I started with Holiday…it sounded completely different and I wasn’t sure I was even going to release it. Until I met Ujjayinee and after we collaborated on 3 tunes for it - which she thought, was the extent of me wanting to use vocals… we ended up doing 7 more. But it was still much more of me with the help of friends, until the last 2 or 3 tunes. Now Uj and I literally work everything through together.”

44

The

Score Magazine

www.highonscore.com

Photography: Pretika Menon

chennai love BeatS the reSt. Why chennai?

Firstly Chennai was my starting point when I got to India for the first time 2 years ago to teach at Swarnabhoomi Academy of Music. I dug it so much when asked back for a second term it took me about 3 seconds to say yes. But I digress, I’d love to tell you a deep story of why Chennai but the simple truth is, my wife lives there. And she likes it there. Ha! I mean I enjoy Bangalore and Kolkata just the same. Every now and then we’ve got someone who looks at ‘Indian Music’ and tends to fall in love with its style and expression.

SoMe have even Found inSPiration and elevation FroM it, hoW So For you?

Well, it goes back to my 70s Fusion days listening to Shakti, then being friends with Shawn Lane, he started to introduce me some stuff that was fairly alien to me. A mutual friend of mine Matte Henderson who is one of my favorite guitarists many never heard of tuned me on to L. Shankar’s Whose To Know, which is my ultimate desert island disc. From there I played at a trade show with a Carnatic violinist in Frankfurt where I just fell in love with that sound. Having taught with Prasanna also had me on this quest to figure out how the 72 Melakartas relate to Western scales.

We’ve heard aBout your tiMe aS a ‘hiredgun’ guitariSt, What WaS the Beginning liKe? The “journey” was never dull from the wild days of the 80s, to the wilder days of now (laughs). Here’s the deal, when I was 5 I knew what I was gonna do with the rest of my life and I never wondered for a moment whether I made the right choice. You don’t choose to be a musician, as a matter of fact those of us that follow the path of no job security, retirement plan, etc. all have a serious need to do this and it’s not optional. So all the things “normal” folks see as outrageous just make this ride worthwhile for us. The beginning was mostly luck and a habit of not saying no.

iS there Solace and inSPiration you Find on the road? in a Word, What’S the road Been liKe For you?

At one point it felt strange to come back to a regular home, and I used to not unpack my suitcase since that left me feel very unsettled. But on the road I don’t have to worry about answering the phone, all I need to worry about is doing my job. Get off the bus, do radio interview, do sound check, gig, dinner, and sleep/bus. It gets dreary after a while but it’s a routine I enjoy. Pretty much all day is spent to take care of the show and that’s all there is.

to noW go on tour With nathan chance and north coaSt, thiS haS Been deFined aS a country Band.

Ah the Country gig question. Well its simple a few years back business was bad enough that if you wanted a decent gig where you still got to burn on guitar New Country was the only thing that was left. I did a few years and 2 albums with them. It was fun; it was pretty much the same as the 80s. But everything ends, always.

I felt the need to move back to LA, so I did. Which was a year before my love affair with India started.

indian SeeMS rather PerFect For you. to Be deFined aS a gear head, a traveler and a PhiloSoPher. What PlanS oF Future ProJectS? Well, within the last 3 months I produced Maalavika Manoj’s album, mixed the Family Cheese and Wolf’s Lair EPs. Went back to LA to do some shows with my 70s Fusion/Funk project called IF (Instrumental Funk) and started writing the new album with Ujjayinee.

I’m about to head back to Chennai and we’ll see what else I can cram into my schedule.

box Fretless guitars, a whole lot of funk, a completely out of the ars experience, from peaking in the experimentation field of guit ers and being considered one of the top 10 best fretless guitar play IN THE WORLD! In a word? Well two, we give Ed Degenaro.

Fretless guitars, a whole lot of funk, a completely out of the box experience, from peaking in the experimentation field of guitars and being considered one of the top 10 best fretless guitar players IN THE WORLD! In a word? Well two, we give Ed Degenaro.

The

Oct 2012

Score Magazine

www.highonscore.com

45

tour

Incredible India!

I reached the venue half an hour prior to the scheduled time only to find myself lingering restlessly in the queue that tracked its path from the entrance all the way up to The Bible Society. Just as I pondered upon thoughts of final relief and squeezed my way through the quarter opened entrance door, did I realize the inferiority of a queue outside. It was houseful, in the complete sense of the term, that if you had an inch of space surrounding you, you’d be the luckiest fan! All this drama for the Finnish band Poets of the Fall, and where in Hard Rock where they? Post a series of failed “they’ll be up in a few minutes” promises came in booing’s and finally the band’s arrival on stage!

Dressed in black, we finally get to gawk upon the POTF in close proximity (which of course made the fans forget their extra long wait, failed promises and an in depth efficient suffocation)! Their 5th album, “Temple of Thought” quite ruled their lineup, prevalent enough in their opening itself! In between absolute renditions of “Roses”, “Locking up the Sun”, “War”, “The Lie Eternal”, “Stay”, “Illusion and Dream”, and “Gravity”, rose a persistent popular demand for “Carnival of Rust” and “ Late Goodbye”, and when it was time to soothe the ears with it, everyone wore their best mask of vocals and hummed along!

46

The

Score Magazine

www.highonscore.com

AishwAryA ThilAk

As a part of VH1 Handpicked, Finnish Rockers Poets of the Fall had toured the country for the 3rd time. For a fan population as heavy as one that would fill huge grounds, restricting them to the 4 walls of Hard Rock Café was a task indeed!

QnA WITH MARKO For a band that’s just nine years old, the Global fan following rate has been impressive. What has been the best part of this almost to be a decade journey?

The whole nine years: that it’s lasted so long, and it looks like it’s going to go on.

Wow! It’s really been a roller coaster ride with a lot of ups and some downs there as well. A lot of things happened in 9 years and I’m sure a lot will happen. We started from scratch, all we had was the idea and belief that we could do this and we’ve come so far.

T hat’s inspiring! And I heard you were not too heavy on your pockets as well?

Yeah, that’s true. We sold everything, didn’t have a place to stay either. We worked on our first album from a basement and our captain’s living room.

People are extolled about your lyrics. Where does the inspiration hail from?

It’s a wide question. It’s usually about daily life. I love looking at things, perceiving and seeing how they absolutely work in this world. I see a lot of things that could be music. So the kindness I see in this world blend together and brings out these messages I want to write about.

So it’s happy music?

Yeah, it’s happy music and happening music too. It’s all up to date.

While “Carnival of Rust” seems to be the hard core favorites among your fans, what has been the dearest to the band in terms of own compositions?

It’s always the latest album and from the latest album we come to love pretty much every song we write. I would say from temple of thought, it’s probably “Cradled in Love” or “The Ballad of Jeremiah Peacekeeper”.

T he first 4 albums of The Poets of the Fall have entered the Finish charts in the first 5 slots. Your latest one, Temple of T hought completed 3rd. What has worked in your favor and distinguished you from the other bands?

The way I’ve heard it from so many bands is that it really moves them from the level of their soul and touches them. And coming from so many people, at least some of it has to be true.

You have been ‘Bangalored’ before at the Oktoberfest Bangalore 2011. How would you relate Indians and your genre of Alternative Rock?

Pretty well actually! It seems that we do have a lot of fans here.

Indians are music lovers. So I think we get in perfectly here

And a couple of hours before he prepares himself to be this man of the audience, we catch up with him!

T his is your 3rd Indian visit; what other than the non concert experience interested you about India?

As we got off the Delhi airport, there were so many…. first of all, so many people! We got into our diplomatic cars and on our way we would see all these rickshaws, where the guys would sleep on their bikes with their heads on the “steering thing”, their butts on the seats and their legs dangling somewhere around. They were fast asleep as no one was buying their services at that time of the night.

And as we drove on, the traffic was like a jungle where everyone would cross over from every which direction you could think off. Oh yes, and there were so many different vehicles, oxen and whatever.

Our first trip was very interesting and was real with the culture shock, but in a positive way. The food and the weather are few things that would keep me coming back to India even if there were no Poets of the Fall.

So did you get to travel in one of rickshaws?

Not yet actually. But I have to try one. Oh yeah, it’s going to be scary as hell, but I’m looking forward to it. (Laughs!)

Indian music. Does it interest you?

The first time we were here, we had time to go shopping and I picked up a couple of albums with people playing the Sitar and other Classical instruments. And that was kind of cool. I usually listen to it while I’m driving back home, and I love it.

You’re up on stage in a couple of hours. What’s the scene like?

Oh yeah, I love the stage as it’s up there on top of the bar. And all tickets are almost sold out, so expecting a lot of people. We’ve shows lined up for Kolkata, Pune, Delhi and Hyderabad and we’re quite excited about it.

What’s your lineup going to be like?

We’re going to play a couple of songs from Temple of Thought as it’s a new album and it would be nice to see how many people know the songs. We’ll also be playing a few songs that ain’t often played live.

It makes it interesting for us, and for the audience to hear as well.

So quickly tell us the first thing that comes to your mind when I say the following.

Indian food: Oh it’s the Biryani and the Indian spices of course.

Indian music: Tadetadeta (how terrible I feel that you guys can’t hear it!) that beat!

Indian music audience: Very loud, very happy, one that never sleeps. Are you all drunk all the time or something?

Indian culture: It is very interesting and goes very far and deep in History. The stuff about the Veda writing, Ayurveda and Aashtanga Yoga, has always interested me. If you think or look very close at the lyrics of our songs, you’d find the above, which may be one of the things that sort of touched the Indian people specially.

The

Oct 2012

Score Magazine

www.highonscore.com

47